CERRITOS CENTER MOVES INTO THE MILLENNIUM
–House Staff Prescribes Upgrades to Improve on a Masterpiece–

The Cerritos Performing Arts Center contains a flexible auditorium that can be transformed into six seating and staging configurations.

BUENA PARK, CA– When the Cerritos (CA) Center for the Performing Arts opened its doors in January of 1993, it was hailed as one of the most advanced theater projects in terms of design, architecture and technology. Architect Barton Myers’ design incorporated traditional Southwest elements, along with state-of-the-art technical features that made the city-run facility one of the country’s premier showplaces.

The most unique and defining feature of the Center is its incredible flexibility. In a matter of hours, the 17,000-sq.-ft. auditorium can morph into one of five different configurations: 1,300-seat Lyric for opera, Broadway shows, and dance; 1,600-seat Cabaret, with chairs and tables replacing floor seating; 1,600-seat Concert Hall, the classic proscenium setup for popular artists and classical music; 940-seat Drama for plays; and a 1,700-seat In-The-Round featuring a revolving center stage for solo artists and sporting events. An adjoining facility, the Sierra Conference Center, a 5000-sq.-ft. area, serves as the site of social and city functions.

A series of pneumatic lifts, designed by Boeing to transport aircraft components, moves the interior walls, side box walls and seating areas (called wagons), some weighing as much as 140 tons. Yet, despite the ability to tailor the house to seemingly any type of performance, technology and production scale soon bypassed the Center’s capabilities. "Shows got bigger and productions have certain expectations," explained Jack Hayback, chief audio/video engineer for the Center. "We wanted to be able to move into the future without a lot of subcontracting or rentals, and to be able to accommodate anyone who came through the door."

The front-of-house wagon features a PM4000 mixing console.

The Center has recently hosted performances by Victor Borge, Keb Mo, Pam Tillis, Cowboy Junkies, Clint Black, Boys Choir of Harlem, George Jones, Vikki Carr, and the touring companies of Annie, Show Boat and Aida.

"With any large-scale theater project, designs undergo many stages of bids, reviews and compliances," he continued. "Our A/V equipment which was installed in 1992, and originally specified in 1989. There weren’t enough inputs for the system, there was only one center cluster. The lighting and video systems needed to be updated. Plus, the in-the-round setup was fine for solo performers and comedians, but was difficult for bands and their audiences."

With Hayback, A/V assistant engineer Kerry Dowling, master electrician Dave Thibodeau and master carpenter Rogan Girard acting as the consulting team, the Center began an intensive upgrade project, beginning with a design/build for a brand new configuration, a 1,800-seat arena. "It’s the most common performance setup, yet it was never conceptualized in the original design," explained Hayback. "There is no sightline obstruction since you’ve got a flat floor and maximum seating capacity."

Working with Burbank (CA)-based A/V contractor Nelson Sound, the Center began system upgrades, with the in-house technical staff handling the bulk of the installation. "My background is as a recording and live engineer," noted Hayback, "so I wanted to apply the experiences I had had with multi-room facilities and mobility to the Center."

The front-of-house area now includes a 48-input Yamaha PM4000 console, 900-Series noise gates and compressors from dbx, and Klark-Teknik EQ. Effects and drive include a Yamaha SPX990 multi-effects processor and D1030 delay unit, plus Lexicon PCM80 and PCM90 reverbs. The house also has an assortment of wired and RF microphones from Shure, Sennheiser, Crown, Neumann and AKG in its collection. Like the other wagons, the 20-ft. W x 12-ft. D front-of-house area is also on air casters and can be removed if necessary. "It’s like a giant ‘Tetris’ game," he added.

Lyric configuration for opera events.

Monitor upgrades included a 52-input Yamaha PM3500M console and 12 signature DFM-12 monitor cabinets from A-1 Audio, driven by Crest 8001 amplifiers. Drive and effects include Klark-Teknik DN800 processors, ten channels of Klark-Teknik DN360 EQ, 900-series gates and dbx compressors, plus Yamaha SPX990 and D1030.

The original center speaker cluster was replaced with eight Meyer MSL2 and four Meyer MSW cabinets, which fly on a bumper and can be hoisted into the ceiling via incorporated cables. A totally flexible EAW system, consisting of eight JBL-loaded

KF850, four JBL-loaded KF855 and four KF850S subs, can be rigged almost anywhere. Cabinets are driven with Crest 8001 amplifiers and BSS Omnidrive crossovers.

Equipment choices, particularly the mixing consoles, were based on familiarity, according to Hayback. "This is a ‘road’ house, with people coming in from domestic and international tours, so the majority of the gear we selected is what they’re used to working on. The consoles are industry standards, so engineers can walk in and mix."

One of the newer technical highlights is the custom microphone splitter. Onstage, 57 transformer-isolated lines split to a monitor feed, a recording/broadcast truck feed in the loading dock area and a "booth feed." The booth, Hayback explained, is a separate room which is used for recording, submixing (strings, for example), recording to video or for simulcast. "It’s got amazing isolation," he added. The booth contains a 24-input DDA D-Series console, 16 channels of Alesis ADAT, and an outboard rack with a Lexicon PCM80, LXP15 and Yamaha SPX990. Eight channels of dbx 900-Series compressors and limiters are housed in SKB cases, and may be moved to another location in the building if necessary.

Upgrades to the lighting and rigging systems included an Avolites Sapphire and an ETC Expression console, additional stationary and moving fixtures from ETC, High End Systems, Technobeam and Avolites, plus six Studio Spots. The facility now boasts over 650 production dimmers and 500 fixtures, including trusses.

Arena configuration, most common set-up for touring shows.

House rigging now includes a Hoffen & Sons flyrail system and Tomcat trussing, with additional CM Hoist 2-, 1- and 1/4-ton chain motors. Eight 400-amp service disconnects and three 200-amp disconnects provide sufficient power for lighting and audio.

Video systems include a Panasonic MX50 switcher, projectors from Barco and Panasonic, various monitors and a 9-ft. x12-ft. Da-Lite screen. Forty tie line panels terminate in the central machine room, allowing video to be patched throughout the building. The Center’s stage can now be monitored anywhere in-house, with a notch out on cable Channel 12.

Hayback credited the success of the upgrades to the Center’s dedicated full- and part-time staff, plus the support of management and the city of Cerritos. "Our house management and the city have been aware of the changing trends in live performance, and now have a state-of-the-art facility that can move comfortably into the 21^st century and continue to provide a variety of quality entertainment."

For more information, write Yamaha Corporation of America, Pro Audio & Combo Division, Professional Audio Group, P.O. Box 6600, Buena Park, CA 90622; telephone (714) 522-9011; e-mail info@yamaha.com; or visit www.yamaha.com.

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